Indo European eschatology is hard to come by. The only exceptions are ancient Zoroastrian Iran and Icelandic sagas. The apocalyptic accounts of “Frašökart” and Ragnarök survive only in transmuted battle sagas elsewhere in the Indo European literature and poetry.
In the showdown of god-beings versus demons, mortals and monsters, the world perishes in a cataclysm of fire and molten metal.
In the Avestan prophecies and the Völuspá the end will come in fire and scalding liquid. In both accounts, there will be a horrid cold winter in the earlier stages, a later cleansing by fire and molten metal, and a final new rebirth of the worlds, in a sacred future age of god-beings and Immortals, an age of eternal progress and spring without an end.
The ancient Aryan prophet Zarathûshtrá speaks of a fiery ordeal, a transfiguration by molten metal in Yasna 51.9, 2nd rhymed verse line and Yasna 30.7, 3rd rhymed verse line.
This fiery transfiguration will ensue in a miraculous renewal and consummation of the worlds. This marvelous transfiguration is called frašö-kart in the poetic gathas of the ancient Aryan prophet.
(See Yasna 30.9, 1st rhymed verse line, Yasna 34.15, 3rd rhymed verse line, Yasna 46.19, 2nd rhymed verse line, Yasna 50.11, 4th rhymed verse line. In addition the ancient commentaries maintain that Yasna 28.11, 3rd rhymed verse, Yasna 46.3, 1st rhymed verse line and Yasna 48.12, 1st rhymed verse line all allude to future frašö-kart.)
Frašökart has passed into Armenian as hrašakert “marvelous, splendid.”
The Old Avestan frašö/fraša refers to the “life-giving nectar of flowers and sap of trees/plants during springtime.” The term denotes “the power of regeneration, splendid renewal and miraculous vigor to fill with life and energy.”
The second part of the compound frašö-kart refers to “making, bringing forth.”
Beside the Armenian hrašakert “marvelous, splendid,” Vedic prikiš, prikišá seem to be an equivalent. However, there is NO trace of any future eschatology in the Vedas.
In the poetic gathas the eschatological emphasis is on a miraculous transfiguration of a withered nature, on a marvelous rebirth of the myriad of the worlds into an eternal spring, an age of immortals, progress and happy discovery.
It is of course, this aspect of splendid healing power, regeneration and pristine holiness that is the underlying theme of the entire gathic poetry. The most beautiful Zám-yaad Yašt is a direct continuation of and the best and most ancient key in understanding the gathic and Old Avestan Eschatology.